Heitor Villa-Lobos is without a doubt Brazil's most famous composer and one of the great creative personalities of the twentieth century. His oeuvre is gigantic in its dimensions and perhaps can be compared only to that of Darius Milhaud, who, by the way, was a close friend of his. In any case, Villa-Lobos was the first to introduce the music of Latin America to the world's concert halls, and influences from this music do indeed abound in his oeuvre. cpo is now presenting the first complete recording of his colossal symphonic work complex in a boxed set of seven CDs at a special low price! The SWR Radio Symphony Orchestra under the American star conductor Carl St. Clair has taken on this enormous task, and the result can only be described as a bravura achievement. You can look forward to an orchestral tour de force operating on the highest level!
A lot has been said about Anna Moffo's early vocal decline and mismanaged carreer but let's not forget what a lovely singer she was in her prime. This recital from the early 1970's let us hear "late Moffo" though she was not yet 40. There is a slight hoarseness and unsteadiness in the voice that was not present in earlier recordings but it is still by any means a beautiful instrument used with skill. This recital also reminds us what a verstatile artist she was - she sings arias from the italian bel canto and verismo repertoire, french lyric and also german operettas and she passes from one to the other with considerable naturalness, ease and charm..
Heitor Villa-Lobos' two numbered cello concerti come from the opposite ends of his output; the first Grande Concerto dates from 1915 and the second from 1953. In between there is another concertante work, the Fantasia for cello and orchestra, which is contemporaneous with the Bachianas Brasileiras No. 5 for soprano and eight cellos that remains Villa-Lobos' most popular work. In this MD&G issue, Heitor Villa-Lobos: Concertos for Violoncello and Orchestra, cellist Ulrich Schmid is heard with the Nordwestdeutsche Philharmonie under conductor Dominique Roggen in the numbered concertos only, although there easily would have been enough room on the 42-minute-long disc to accommodate the Fantasia as well.
The young Polish musician Krzysztof Meisinger (b. 1984) is one of the most fascinating and charismatic guitarists of his generation. With the legendary Academy of St Martin in the Fields under the direction of the Brazilian conductor José Maria Florêncio, he has recorded the famous Guitar Concerto of Heitor Villa-Lobos. In this work of 1951, Villa-Lobos paid eloquent homage to the guitar’s qualities as a concert instrument. The recording also includes the Five Preludes for solo guitar, and an arrangement of Melodia Sentimental for guitar, violin, and string orchestra. This programme – recorded at Abbey Road Studios in London! – ideally displays the flexibility of a young soloist ready to conquer the world with his bewitching playing.
The finest recordings of these works available! The Brazilian composer (we needn't remind his most ardent supporters that he's the most significant Latin American composer of all time) behind numerous orchestral, chamber, instrumental and vocal works lets his creative genius show on Choros (from the Portuguese verb chorar , "to weep") Nos. 1-12 and Bachianas Brasileiras ("Brazilian Bach-pieces") Nos. 1-9. Also includes a bonus disc of solo guitar music played by the distinguished Anders Miolin. Great notes in the booklet, too…highly recommended! - Gramophone Magazine
Villa-Lobos’ War and Victory Symphonies were commissioned by the Brazilian government following the end of the country’s involvement in World War I. Using very large orchestral forces, and conveying the composer’s feelings about the conflict with no sense of triumphalism, the two Symphonies display a confident use of unusual and evocative effects, such as the collage of fragments of the Brazilian national anthem and La Marseillaise in the ‘Battle’ movement of the Third Symphony. Villa-Lobos’s Symphonies Nos. 6 and 7 can be found on Naxos 8573043 in “superb… full-blooded” performances.